Dreamland for Keeps by Sarah Nichols (cover artist: Nicci Mechler)
Dreamland for Keeps is a whisper in the dark giving voice to Elizabeth Short through poetry of erasure. Nichols’ poems return agency to the spirit of a woman so often sensationalized, examining Short’s many names, her impression forever etched on the American consciousness. For her, death is not the end of the story; in some ways the puzzle is never solved. (Porkbelly Press, 2018) » more info
WHAT DARKNESS BRINGS ME
When I ask,
offers me its
A tree of eyes. A
hand in a jar,
its owner, lost.
I swallowed a
It tasted like
dust and tears.
Bone and gold.
Blackbird Whitetail Redhand (cover: Nicci Mechler)
Blackbird Whitetail Redhand (by Lindsay Lusby) is a book of chaos, transformation, and all the little possibilities tangled beneath the night clover. It is a simultaneously tumultuous and quiet narrative of bodily autonomy and the sacrifices needed to achieve it. These are poems rattled with the snapping of bear traps and the sharp, tangy bite of an ax kissing the trunk of a tree. Lusby leaves you asking: is she the sweet flesh of the fruit fruit or the sharp teeth? Listen for cloven feet over the thicket. If you catch sight of her, marvel at her mottled heart. Be careful not to make a sound, “she’ll move like scattershot” if you do. (Porkbelly Press, 2018) » more info
Our complete 2018 line of chapbooks is listed below; we’ve added three chaps to previously selected works. The first two titles are selected from our January pool of submissions, and we’ll also be publishing our first photographic chapbook (Light Experiments).
Says the Forest to the Girl by Sally Rosen Kindred (poetry)
Never Leave the Foot of an Animal Unskinned by Sara Ryan (poetry & CNF)
Light Experiments by Madeleine Barnes (photography)
Dreamland for Keeps by Sarah Nichols (erasure poetry)
Love Me, Anyway by Minadora Macheret (poetry)
Two of our 2017 books were moved to 2018:
Blackbird Whitetail Redhand by Lindsay Lusby (poetry)
Found Footage by Maggie Woodward (erasure poetry)
Congratulations to our new poets & writers & artists!
We can’t wait to work with you to bring your books into the world.
Thank you to everyone who submitted. Thank you for your patience in awaiting our reply—we took a bit longer to read this year than usual. Once again, we were given the pleasure of making some very difficult decisions. We had to say no to some books we’ll be buying when they’re released from other presses. We’re quite sure they’ll be picked up soon.
You can pre-order any combination of three, five, or all of the 2018 line, and we’ll send them as they’re finished on the binding table.
(All of our titles are individually printed, collated, trimmed & bound by hand.)
Found Footage is visceral little book of freckled skin, fox-bellies, and sparrow blood. There are erasures scribbled out in pen and secrets released into the night—girl stories, horror stories, love stories, a little bit of each one ominous.: “this is how the story goes: there was a girl & / there was a river.” They feel like confessions pulled from a diary stained around the edges in blood and darker things, each one “fanged (but lovely).” (Porkbelly Press, 2018) » available from our shop » more info
ABOUT THE POET
maggie woodward is an mfa candidate in poetry at the university of mississippi, where she is senior editor of the yalobusha review & curates the trobar ric reading series. she is also a programmer for the oxford film festival. her work has appeared or is forthcoming from The Atlas Review, Devil’s Lake, Witch Craft Magazine, Cloud Rodeo, & New South Journal, among others.
Daughter Shaman Sings Blood Anthem (Kristi Carter) cover: Nicci Mechler
Carter’s work investigates the intersection of intergenerational trauma, survival, feminism, and power. Body-heavy and image-rich, these poems evoke a landscape of the scars and blood we carry with us, all the things that make up our lineage of memory and modes of recovery/survival/learning. It’s an intensely intimate series of poems about the claiming and finding of voice, body, and agency. “And ever since I anchored myself to the ground / and split off from myself, from the cracked husk / of girlhood finished, I return replenished. / I return, to burn. / I return, with the wound / like a medal—in its gleam, how it sings.” (Porkbelly Press, 2017) » available in our shop » more info & excerpt
about the poet
Kristi Carter is a PhD student in Creative Writing–Poetry with a specialization in Women’s and Gender Studies at University of Nebraska Lincoln. Her poems have appeared in publications including So to Speak, poemmemoirstory, CALYX, Hawaii Review, and Nimrod. Her work examines of the intersection of gender and intergenerational trauma in 20th Century poetics. She holds an MFA from Oklahoma State University.
MEXICAMERICANA by Eloisa Amezcua (cover artwork: Sharmon Davidson)
Eloisa Amezcua’s Mexicamericana becomes both a demarcation and blurring of the line between states, identities, culture, and selves. This meeting-place is investigated in mother/daughter, English/Spanish, citizen/citizen—how these things are seen from outside as separate, but are quite entangled—how a woman finds her way walking with both, whatever the two may be, “furious and alive.” The river does not separate places—it touches both and nourishes both. This collection borrows its epigraph from Alberto Ríos: “The border is a line that birds cannot see.” (Porkbelly Press, 2017) » more info & excerpt
about the poet
Eloisa Amezcua is an Arizona native. She is the author of the chapbooks On Not Screaming (Horse Less Press) and Symptoms of Teething, winner of the 2016 Vella Chapbook Prize from Paper Nautilus Press. Eloisa is the founder/editor of The Shallow Ends: A Journal of Poetry. You can find her at www.eloisaamezcua.com.
Sharmon Davidson » sharmondavidson.com
Feeding the Dead by M. Brett Gaffney (cover art: Mary Chiaramonte)
These poems are the knife edge, the hot blood, the wolf’s howl, and the fang of the girl who hunts him down. This book holds the haunted-house-horror and everything real underneath, the costume, the bruise after, the smoke curling in the heart of a hellhound. “After supper she pulls on boots, prepares her heart” and goes out to collect his “sharpest fang.” These poems are demons and strawberries and bones, and teeth, and agency, self, girl-power, woman-power—assertive figures preoccupied with agency, not beauty—not prettiness for the observer. This chapbook of poems is the bone-yard, the skeleton, the strength. “I am here to stay / … / I am just as real as anything else.” (Porkbelly Press, 2017) » more info & excerpt
about the poet
M. Brett Gaffney, originally from Houston, Texas, holds an MFA in Poetry from Southern Illinois University and is the art editor for Gingerbread House. Her poems have appeared inExit 7, Rust+Moth, Permafrost, Devilfish Review, museum of americana, BlazeVOX, Rogue Agent, Apex Magazine,and Zone 3, among others. She currently works as a library associate in northern Kentucky and lives in Cincinnati with her partner and their dog, Ava.
Cover artist: Mary Chiaramonte » www.merrysee.com
Cover art: “The Fables,” acrylic on wood, 24 x 36 inches.
Title typeface: Brain Flower by Denise Bentulan.